This is a comprehensive and indispensable book for all serious anglophone students of Heidegger. Based upon but not limited to the Gesamtausgabe, its 261 entries provide bibliographic details of Heidegger's works in over 400 English versions. But Groth has put together more than an enumeration of titles. Among his other useful sections are: An alphabetical list of all the translators and what they have translated. The up-to-date contents of the Gesamtausgabe. Lists of videos, audio recordings, and audiobooks in German and English. Heidegger's texts which have been translated into English, listed both by title and by date of composition. Heidegger's lecture courses and seminars, listed by dates of composition, presentation, and publication. We can learn quite a bit about Heidegger just by scanning these chronologies, discerning a genetic progression in his thought, seeing not only what interests English translators, but also what interested him at the various stages of his career, and perhaps even gathering evidence to pinpoint the "turning(s)." Extensive cross-references enable easy movement among all categories.

This volume offers a thorough description of anxiety from a phenomenological perspective. Building on Bakhtin’s insights, the author develops the method of “phenomenological polyphony,” which can do justice to the essential ambiguity of anxiety. In this polyphony, the voices of Kierkegaard, Husserl, Freud, Blumenberg, Heidegger, Sartre, Adorno, Derrida and Levinas are particularly recognizable. The book explores new perspectives on the complex relation between anxiety, fear, and trauma with reference to different disciplines, from art history to cultural anthropology, from psychopathology to theology, from literature to political philosophy. When is anxiety justified? When does anxiety cease to function as an effective and reasonable signal preventing imminent threats, and when does it become an invasive projection of our own ghosts? This volume presents a deep philosophical inquiry into the affective phenomenon that can both protect us from danger and be a danger in itself. Moreover, the author explores the relevance of anxiety in the context of philosophical anthropology. In various theoretical frameworks, the difference between anxiety and fear serves as a criterion for distinguishing human beings from animals in particular. Accordingly, research on anxiety is crucial for defining human nature as such. The analysis presented in this volume shows how an alteration of the dimensions of embodiment, time-consciousness, and phantasy takes place in anxiety. Furthermore, the author elaborates on new categories for understanding of anxiety, such as quasi-intentional imaginative anticipation, which eludes the traditional differentiation between perception and imagination. The work culminates in a phenomenological analysis of five essential traits of anxiety: 1. its quasi-intentional imaginative anticipation; 2. its negative inspiration; 3. the recurrence of bodily manifestations; 4. the interlocution with an alien power; 5. its negative teleology.

The hidden history of the creative writing workshop and the socioeconomic consequences of the craft labor metaphor. In a letter dated September 1, 1912, drama professor George Pierce Baker recommended the term "workshop" for an experimental course in playwriting he had been planning with former students at Harvard and Radcliffe. This was the first time that term, now ubiquitous, was used in the context of creative writing pedagogy. Today, the MFA (master of fine arts) industry is a booming one, with more than 200 programs and thousands of residencies and conferences for aspiring writers nationwide. Almost all of these offerings operate on the workshop model. In Craft Class, Christopher Kempf argues that the primary institutional form of creative writing studies, the workshop, has remained invisible before our scholarly eyes. While Baker and others marshaled craft toward economic critique, craft pedagogies consolidated the authority of elite educational institutions as the MFA industry grew. Transcoding professional-managerial soft skills—linguistic facility, social and emotional discernment, symbolic fluency—in the language of manual labor, the workshop nostalgically invokes practices that the university itself has rendered obsolete. The workshop poem or short story thus shares discursive space with the craft IPA or hand-loomed Pottery Barn rug—a space in which one economic practice rewrites itself in the language of another, just as right-wing corporatism continuously rewrites itself in the language of populism. Delineating an arc that extends from Boston's fin de siècle Society of Arts and Crafts through 1930s proletarian workshops to the pedagogies of Black Mountain College and the postwar MFA, Craft Class reveals how present-day creative writing restructures transhistorical questions of labor, education, and aesthetic and economic production. With the rise of the workshop in American culture, Kempf shows, manual and mental labor have been welded together like steel plates. What fissures does that weld seal shut? And on whose behalf does the poet punch in?

A multidisciplinary index covering the journal literature of the arts and humanities. It fully covers 1,144 of the world's leading arts and humanities journals, and it indexes individually selected, relevant items from over 6,800 major science and social science journals.

A complete English translation of the correspondence between the philosopher Martin Heidegger and the novelist and essayist Ernst Jünger, together with a translation of Jünger's essay Across the Line.